The French New Wave (revisited) It doesn’t matter where you take things from, but where you take them to. Jean-Luc Godard Dr. Nicos Terzis, Adjunct Professor, Department of Graphic Design, School of Fine Arts, Technological Educational Institute of Athens, Athens, Greece Abstract: The proposed paper will attempt to delineate the history and the aesthetic characteristics of the French Nouvelle Vague, the most famous cinematic movement in history. The structure of the paper will mainly evolve around the following questions and topics: where did the name of the cinematic movement ―Nouvelle Vague‖ originate from? What kind of influences ―Nouvelle Vague‖ exerted on other film movements around the world? Which role did the Cinemathèque Française and Henri Langlois, its creator, play in the formation of the aforementioned cinematic movement? What role did the French film magazines of that period (e.g. Cahiers du Cinéma) play in the creation of this new wave? Who are the main representatives of the movement (Jean-Luc Godard, François Truffaut, Claude Chabrol, Eric Rohmer, Jacques Rivette) and the Left Bank directors: Alain Resnais, Chris Marker, Agnes Varda? Who are the Precursors of the Nouvelle Vague? What are the modernist aesthetic characteristics of this world’s most famous cinematic movement, in terms of form [mise en scene] & narrative structure [montage]? Phenomenology and diffused existentialism in the movements’ themes and characters. Keywords: Nouvelle Vague, Modernism, Montage, Auteur theory, Camera Stylo 1 Prologue ―Αgainst modern Cassandra’s foretelling its doom, narrative cinema during its hundred and twenty two years of history –despite the plethora of so many film patterns and styles that coexist in our digital age– presents retrospectively in my opinion, two substantially opposed trends/tendencies, two crucial cinematic paradigms, which define the extremities of the vast domain of its narrative capability: to entertain the public in various seductive or deceptive ways, to appease it giving rise to and strengthening its long cultivated expectations and addictions (Hollywood’s mainstream dominant narrative norm, a Circle of deceit at best according to David Mamet) or raise questions and explore the aesthetic nature of the filmic medium, extending the perception of the public, and the world which both filmic text and people– inhabit and reflect (a tendency Nouvelle Vague massively escalated for the first time, with the old timer, Jean-Luc Godard, attempting it to the present)‖ (Τερζής 2013, 18). These two tendencies represent the two poles of [1] Jean Seberg in the closing shot of À Bout de Souffle the methodological antithetic dipole placed in the (Breathless, 1960) by Jean-Luc Godard core of this paper: Hollywood’s realism of verisimilitude versus modernism of the French Nouvelle Vague. Introduction In order to comprehend the innovative endeavor of the Nouvelle Vague directors, it would be proper, first to understand the classical paradigm of cinematic narration in its broad lines. Hollywood’s dominant, classical cinema is based on a set of generic codes and conventional narrative devices which act as motifs and cognitive schemes, such that we as spectators are taught/conditioned through repetition to understand mainly the story and identify with the positive characters in a more or less passive process. This mainstream narrative orthodoxy is channeled through the cinematic genres and aims to bring about clarity and unity through goal- oriented protagonists who function in a godly star system which foregrounds individual problems devoid of any critical social context. They follow a storyline that, except for small gaps and clearly cued flashbacks, orders events in a naive linear chain of cause and effect, thus obeying the norms of narrative closure and bringing about a reassuring happy end. On the contrary, the French Nouvelle Vague, this spermatic, modernist pole that paved the way to contemporary filmmaking, concerns films which sparked the desire of a spirit of resistance, rebellion and refusal to the visual conventions and linear narrative structure of Hollywood’s main stream cinema. These films are part of the modernist movement of 20th century, which fortunately, despite its existing diversities and deviations was to challenge the prevailing perceptions about the nature and purpose of art, to attack complacent preconceptions and redefine the relationship between the artwork and the viewer. The modernist project as a whole runs through all the arts and does not follow a simple linear and chronological way. Regarding the part of the modernist narrative art-cinema that aspired and achieved to appeal to a broad audience, it found its first samples in the postwar Italian neo- realism (1943-1952), continued with the English Free Cinema (1956-1963) to escalate aesthetically peaking in the work of the French Nouvelle Vague in the 60s. In Europe, the 2 influence of the Nouvelle Vague extended to the Czechoslovak New Wave films with the subversive satirical bitter humor that often characterizes them, but mainly in the new German cinema films, when it begins to wane, in the middle of the 70s. Here, it would be proper to additionally mention the influence of the French Nouvelle Vague, both to the Brazilian Cinema Novo (which had already assimilated the characteristics of the Italian neo-Realism) as much to the Portuguese Novo Cinema (an extension of the Brazilian Cinema Novo) that flourished from the early 60s to mid-80s, under the ideals of the revolution of the Carnations (1974). The French Nouvelle Vague had similar effects to the independent US cinema, the Nuevo Cine Argentina, the Cuban revolutionary cinema, to the birth of African cinema and to the renewal movements in countries as different as, in this case, of Czechoslovakia and Japan. But, to return to the French Nouvelle Vague, its representative films are diverse in their [2] Jean-Paul Belmondo and Jean Seberg in À Bout de Souffle manifestations, complex in form and demanding (Breathless, 1960) by Jean-Luc Godard in viewing. It is natural not to be very popular as they are opposed, sometimes completely, and other times partly to everything our commercial cinema accustomed us to expect from a movie. But popularity is a relative thing. When modernist cinema was at its peak in the 60s, it caused great excitement to the restless inquiring minds, excited film criticism at high degrees, while it was able to have commercial success at the same time. As a whole these films, giving primacy to filmic style over content, present more or less as their common characteristics, the unconventional choice and handling: [1] of their themes and subject matter, [2] its fictional (often anti-hero) characters, [3] its mode of production [4] and most importantly, its narrative form and cinematic language, effecting to the opening of their audiences’ perception (viewer’s film). 1. Factors that played crucial role in the birth of the French Nouvelle Vague The French Nouvelle Vague was born out of the synergy of several deciding factors in action: most notably, the dissatisfaction that many serious art critics and aspiring young filmmakers felt towards the existing, outmoded, so- called tradition of quality of post World War II French cinema, which seemed all the more isolated from contemporary life. It was during a time when ciné- [3] Jean-Pierre Léaud in the closing shot of Les Quatre Cents Coups clubs, like Cinemathèque Française1 and (The four hundred blows, 1959) by François Truffaut new film journals, like Cahiers du Cinéma, found the stagnated films on offer to be unchallenging, stolid and without vision, so they were looking for a personal, exciting raw and 3 modern cinema. The already established critics, including Francois Truffaut and Jean-Luc Godard of Cahiers du Cinéma, envisioned an auteur cinema, in which the director’s vision was paramount, personal and should be developed addressing the social and political issues of their time. They were inspired by their mentor Andre Bazin, and in particular by Alexandre Astruc's manifesto, originally printed in ‘L'Écran français’ on 30 March 1948 as "Du Stylo à la caméra et de la caméra au stylo" (The Birth of a New Avant-Garde: The Camera-Stylo), which outlined some of the ideas that were later expanded upon by Truffaut, Godard and the rest of the Cahiers du Cinéma critics. Alexandre Astruc argued that ―the scriptwriter directs his own scripts; or rather […] the scriptwriter ceases to exist, for in this kind of film-making the distinction between author and director loses all meaning. Direction is no more a means of illustrating or presenting a scene, but a true act of writing. The film-maker/author writes with his camera as a writer with his pen. In an art in which a length of film and sound-track is put in motion and proceeds, by means of a certain form and a certain story (there can even be no story at all – it matters little), to evolve a philosophy of life, how can one possibly distinguish between the man who conceives the work and the man who writes it?‖ (Astruc 1968, 22). Astruc envisioned a modern cinema which ―should be in the process of becoming a new means of expression on the same level as painting and the modern novel. He envisioned a camera-stylo 1 The same people, who grew up reading the French film magazines, founded the first film-clubs, not only in Paris but throughout France, most notably the Cinematheque Française, which was founded in 1936, but practically opened to the public in 1948 by its co-founders: Henri Langlois and Georges Franju; a small fifty-seat Cinematheque, with a selective program, literally, a paradise for the most fanatical and serious cinephiles. Langlois, who sought to establish a film training area in the Cinémathèque Franҫaise, used to screen in the same evening, films of a different kind, style and country of origin, foreign movies without subtitles or silent films without background music, constantly aiming to turn public attention to the cinematographic techniques and the linking elements that were at work in these, otherwise, completely different movies.